John Joe Casey’s reel

There is 1 recording of a tune by this name.

John Joe Casey’s has been added to 3 tune sets.

John Joe Casey's has been added to 56 tunebooks.

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One setting

X: 1
T: John Joe Casey's
R: reel
M: 4/4
L: 1/8
K: Dmaj
|:eA (3AAA ABcd|e^def ~g3e|fd (3ddd Ad (3ddd|
|fgaf gfdf|eA (3AAA ABcd|e^def ~g3e|
|fd (3ddd edBd|1 Addc defg:|2 Addc defa||
|:b2 ba gabg|ad (3ddd Adfd|gee^d efga|
|baa^g a2 =ga|b2 ba gabg|ad (3ddd Adfd|
|g2 eg fedB|1 Addc defa:|2 Addc defg||
# Added .

Two comments

John Joe Casey’s

This is the fourth tune in the set Urs was asking about from Solas’ CD "Solas." The full set is two jigs (Timmy Clifford’s, The Return Home) followed by two reels (O’ot Be Da Vong, John Joe Casey’s). The whole band gets rolling on this last tune, so it’s a bit hard to tell exactly who’s playing what notes. The setting I’ve posted here may be a mix of Seamus Egan’s flute and banjo, Win Horan’s fiddle, and John Williams’ button box.

They really drive this reel, but it picks up plenty of swing, in part from those sharped d’s in the first half and in the 3rd measure of the second half. Also watch for the g sharp (and its retun to g natural) in the 4th measure of the second half.

One of the things I like about Solas’ playing (and Seamus Egan’s in particular) is how they almost always tie the end note of one part right back into the start of the next part. So instead of landing on that "final" d in the last measure of either half, they just breeze right through it and into a bridge |defg or defa| to the first note of the next part. John Doyle supports this with his passing chords building toward the resolve and then jumping on to the next phrase. All this gives great flow and continuity to the music, and I like the almost-out-of-control feel that leaves you wondering where they’re going to end up.

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